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WLH - final update

Works going well, wrapping up the animatic nicely. Am pleased with it myself. I think the story is all there. It may confuse in a few places on first watch, but on second I think those niggles are cleared up. I believe they are just niggles that'll go when the thing is actually animated.

I watched 'The Wind That Shakes the Barley' last night. I think the complete naturalistic nature of Ken Loach's films is something I really admire and something I would like to think this could retain. However with all the cutting I'm worried that that has been lost. It may of gone too 'hollywood' in its cutting. I 'ope not. Anywho, again that's a niggle that'll be either evident or not-so come production. Perhaps more length could be added later if necessary.

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The second page to the production method I posted the other day. Have been thinking about the best way to compose when the project reaches post production. Reason being, because i've been staring at this for the last few days:

Not what I want to be seeing come April.

But still have learnt alot. The messyness of After Effects when it gets really over burdened is a real turn-off to getting the film finished. Hopefully with a little foresight can dodge some of that slack.

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Right now i'm considering different ways to animate the film. I want the film to have a strong, unified 2D look to it, however I want to look into ways that we can emulate the 2D look, whilst saving time on some shots.

One option is something like the following. Because we have a lot of different shots, alot of quick shots also in CU, it might be ideal to build something like this to go from:

I don't know the feasability of it myself, but it looks like it offers a good level of control for getting subtle movements into a character - which is something I really want. If I were to build flat versions of the characters like this, it would be ideal for several of the midshot/CU's in the film, for example:

Another thing i'm interested in doing is merging 2D & 3D in a way others have sneakily done before. Am thinking Belleville Rendevous - how alot of it is 3D with a 2D facade - eg the bikes. Another good example, and the one that got the ball rolling, is Matatoro:

Matatoro has a lovely style to it. I believe they did the reverse to what i'm thinking - 3D characters on 2D backgrounds, but still the mixture is a good example of how they can work together.

I'll be looking to use 3D in the film, possibly building all the sets as 3D (for example, this early kitchen build by Jake). I will then most probably go over them in line to give them the 2D look. The reason I want the backgrounds in 3D is because of the shot count. I want to be able to play with the camera when productions underway as if I were on a film set. There'll be a few shots in the film that will be quite clearly 3D, one of them, is this one:

What i'm looking for is a 3D person to really come in and grab this with open arms, make this shot their's, and a big shot for there show reel.

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The only big changes I see that need happening with the film are firstly, a well written bit of dialogue. Right now it's just the necessities chucked in, when in actuality, am gunna need some really strong dialogue in there. It'll add alot to the characters, our empathy for them, and therefore the story as a whole.

Second, am considering adding in some sort of time motif, like keep cutting to a clock, or the characters watch, to show time is passing, and to re-enforce the idea that this is all happening in one day.

And finally, the music. Am really keen to have someone come in and produce a score for it that really boosts the empathy. Right now we don't get into the characters, and I think that audio throughout would be a big part of that.

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About Moi

"Well I might look like Robert Ford, but I feel just like Jesse James". In 1876, six years before his death, the legendary cowboy Jesse James lived under the alias of 'Thomas Howard'...
...My plan is to create something that gives me more pride than this little fact does.
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